Producer, Composer, Mixer

Q: Tell us about a project you worked on you are especially proud of and why. What was your role?

A: - Mary Lambert: The focus was her voice and message, with an extremely intimate as well as a high impact approach to the music and sonics. Every sound was formed to tell the story more effectively and sometimes, surprisingly. - Sara Bareilles: Sara is, and always was, a very independent artist and thinker. My role was to support a deep level of musical intimacy so the stories come through, yet still create some "big" sounding moments without being overblown. This was the balance we struck. Mixing the entire album was a joy as I was able to objectively put on the "mixer hat" and push the productions a little further. I'm also proud that it wasn't necessary or even discussed to have alternate mixes for singles. The singles released are the actual album mixes. - Just Hold On (Steve Aoki and Louis Tomlinson) I was only a writer on this... but I love the lyric that Sasha Sloan and I came up with. And Platinum and Gold in 26 countries was not bad. - Tori Amos: My role was to push the impact of the sometimes aggressive messages in the songs. Everything needed to be built around the intensity (sometimes sensitivity) of the piano and her voice, while still reaching out and grabbing you by the throat. This approach was constantly considered in both arrangement and sonics. - Birdy: My role was additional production and string arrangements - All the scores I've composed... though some I'm proud to have merely survived, I have loved creating music for all of these.

Q: What are you working on at the moment?

A: I am currently producing an album for, and writing with a new and brilliant Swedish artist. The project is in English, we will own the Masters together, and will complete the project this Fall prior to engaging any label interest or distribution deals. Composing all the music, and the title and end credit songs for 3 seasons of the Nordic/German TV series Backstrom. I am a signed Warner Chappell songwriter, write continuously under this umbrella, and continue to engage in a strong relationship with them. I am about to work on your music.

Q: Analog or digital and why?

A: Both... depending on the project. Though I work most often within the digital realm, both approaches have their own unique value. I'm not dogmatic regarding this - it comes down to whatever gets the best result.

Q: What's your 'promise' to your clients?

A: - Your project will improve dramatically - You'll find my communication to be open and honest. - I am RELENTLESS when it comes to making something better - Regardless of my experience, I will never "talk down" to you. Only insecure people feel the need to do that. - You will learn things in the process of our collaboration - The experience will be engaging, fun, and fulfilling.

Q: What do you like most about your job?

A: I still find it utterly magical to make (and to help refine) something out of nothing... Music! It never gets tiring!

Q: What questions do customers most commonly ask you? What's your answer?

A: - How did you get started... my answer is above in the question "What was your career path? How long have you been doing this? - What is your approach to mixing/production/composing - What instruments do you play - What DAW/equipment do you use - How quickly do you work (answer is: quickly and focused)

Q: What's the biggest misconception about what you do?

A: Two things stand out: - that computers and plugins do most of the work - type casting: as in "you've done a lot of projects with female singers... so you must only be good at working with female singers".

Q: What questions do you ask prospective clients?

A: - What's your musical background - Who are your influences - What kind of impact are you looking to create with your song(s) / project - both sonically and emotionally. How do you want your audience to feel... what so you want their take away to be after listening to the work? - Do you have a set timeline - Obviously, what is your budget.

Q: What advice do you have for a customer looking to hire a provider like you?

A: - Think clearly in advance about what you want out of this collaboration. - Create a very short pitch which focuses on an overall description of your project. - Include a more detailed run down of project info e.g. number of songs, how much production exists if any, musical and/or sonic approaches you've been referencing (or want me to reference), and any other creative details you think would be important to know. - As we agree on terms - communicate about any technical details for files sent so we can launch without a hitch.

Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?

A: - My '70's era Neumann 87 (this one is magical) - My GML 8200 eq - My Mac Pro - My PC server (holds my massive sound libraries... is that cheating... I don't think so) - My Roland A-88 keyboard controller

Q: What was your career path? How long have you been doing this?

A: I've been professionally involved in creating and working on music for 30 years. I started learning the piano at a young age and, in my teens, studied jazz, classical, and orchestration / arranging with Jazz great Joe Rotundi Sr. I played in bands in (and post) high school, and in my early 20's got the opportunity to compose and produce music for a commercial. This kicked off several years of commercial music bootcamp which was invaluable to understanding what it takes to create, produce, and deliver at a high level - on time, and within budget - while dealing with creative and business communications and collaborating with other people. While working in that field, I started producing demos for up and coming artists, one of whom was Tori Amos. After her first album was rejected by Atlantic Records, we produced 6 more songs for very little money and these were accepted by the label and turned into 1/2 of the album Little Earthquakes. Eventually I transitioned entirely to producing, mixing, and writing. Various types of projects throughout the years have included only producing, only mixing, only writing - or combinations of all three. Currently, I'm continuing to grow along all these interrelated paths and am always looking for new ways to fine tune, expand, and add new tools to my process.

Q: How would you describe your style?

A: My style depends on the Artist, but I tend to go for high emotional impact. This can come in the form of high energy aggressive mixes, or super intimate and raw sonics... or transitions from one to the other in an arrangement and mix.

Q: Which artist would you like to work with and why?

A: All who've I've worked with before, plus some fantastic artists like Poebe Bridgers, Haim, Noah Kahan, Stromae, Harry Styles, José Gonzáles, Zach Bryan, John Mayer, Echosmith, Olivia Rodrigo, Finneas. They each have a unique take on life and how to express it through music, and I love the collaboration with artists, showing them new ways of hearing their work.

Q: Can you share one music production tip?

A: I create a space for each instrument and sound in song. This applies to melodies, chord structures, rhythms, and sonics. So that each sound and each instrument's personality have their moment to step forward and speak. In terms of harmonic structure, I like to pull focus to the most important melodies and musical moments in each section of a song, whether it be the vocal (most of the time), a hook line on an instrument, or an extreme dynamic or rhythmic moment. This is something I try to be aware of from the very beginning, in the production/programming/recording phase, so the arrangement of the song is build on a solid and dynamic foundation. Then, when I mix, I carve out a sonic space for each instrument to they can come through the track with their own impact both sonically and most important, emotionally.

Q: What type of music do you usually work on?

A: Indie Pop, Pop, Rock, Singer Songwriter.

Q: What's your strongest skill?

A: Mixing, Production, Songwriting, Composition.

Q: What do you bring to a song?

A: Per my bio, I bring a deep understanding of the core values of a song, it's intention, and all the possible ways to strengthen it's impact. My understanding of music theory, and experience with songwriting, vocalists, musicians, programming, and production and mix enable me to hear a song from all angles and help realize it's full potential.

Q: What's your typical work process?

A: Each project entails an individualized approach, but generally speaking I'll get detailed information about the project, artist, production and discuss the approach and intention so we all have a clear understanding of where the project is currently, and where it needs to go. This involves everything from purely creative direction to technical discussion, so all are on the same page. Then we go!

Q: Tell us about your studio setup.

A: I LOVE my situation! I'm set up in an historic building dating back to the 1600s in the Old Town of Stockholm - Gamla Stan.

Q: What other musicians or music production professionals inspire you?

A: I love so many of the musicians I've worked with; Matt Chamberlain, Aaron Sterling, Chris Chaney, Mark Browne, Michael Carey, Bruce Watson, Sean Hurly, Abe Laboriel Jr., Zac Rae, Cameron Stone to name a few. They are incredible talents. Many of the artists and singers I've worked with have been great musicians well - this is always super fun and gratifying. Composers such as Thomas Newman, Hans Zimmer (and many of his collaborators) Jung Jae-il, Lyle Workman, Cristobal Tapia de Veer, Howard Shore... a few too many to mention. Other producers who inspire include some obvious classics... Brian Eno, Daniel Lanois, the grand gentleman of them all Sir George Martin, who I had the honor of meeting several times. And some very cool talented producers now… Finneas, Philip Etherington, Howard Willing. I'm most inspired by a clear intention, the willingness to experiment, and a passion to music that translates authentically.

Q: Describe the most common type of work you do for your clients.

A: Depending on the artist and nature of the project, it can vary from Additional Production and Mix, to songwriting and full production, to just mixing.